Life Lessons from India - A Woman’s Memoir - by Hemalatha Gnanasekar - Review by Maria Teresa De Donato

 

Life Lessons from India - A Woman’s Memoir

by Hemalatha Gnanasekar

 

Review by Maria Teresa De Donato

 

Those interested in learning about Indian culture as experienced and seen by an ordinary middle-class young woman with a caring, loving attitude and a practical, down-to-earth approach to life will love this publication.

The book begins by describing a pujari (priest) performing abhishekam (bathing) to the goddess in the sanctum before three black pillars while the congregation chants prayers.

An innocent question posed by a child who wants to know "where the goddess is," given that the only things that appear to her eyes are the three black columns, brings to the Author's mind experiences and thoughts similar to those she had during her childhood, including the embarrassing moment when she had asked a similar question, despite admiring the great devotion and faith that people have in God. The Author, however, and by her admission, is more inclined to see "god" in good people, in those who are ready "to lend a hand in case of danger or difficulty" (p. 6) and who seem to be sent by God rather than seeing the latter in inanimate things.

From that moment on, one memory after another resurfaces in her mind: the man with bags "full of vegetables and provisions" (p. 6) who, on his way home, regularly stopped to pray to the Sun God; the religious processions that took place along the road where people carried statues of the gods and set off firecrackers or staged dramas to demonstrate men's physical abilities and/or strength; how it all left some spectators amazed and others completely horrified (pp. 7, 8); her adventure or misadventure, depending on how you perceive it, of the trip to a distant village organized by her father when she was still a child.

Once, her husband had rented a van with 12 seats and a driver to accompany his family and some relatives to an ear-piercing ceremony. When it arrived at the gate of their house, they noticed that the van was very old and many of its parts were rusty. During the journey, the truck produced so many noises that there was great uncertainty among the passengers about whether it would take them to their destination. Suddenly the van stopped in an area far from the town because... it had run out of diesel.

Among other things, although the van only had 12 seats, 20 people, squeezing in together, managed to get on board and keep the children sitting on their laps. However, the vehicle eventually took them to their destination thanks to a gentleman who, passing there by chance on a moped, had taken the van driver to the nearest gas station and brought him back to where the van was.

The summer holidays spent at the grandparents' house in the village; the unjust punishments received at school and, later in life, also in the workplace; all the sacrifices made by her parents to give her and her siblings the best possible education and lifestyle are all memories which, resurfacing in her mind, underline the richness in terms of experiences, she had first as a child, then as a teenager and young adult and the teachings and lessons she has learned, as well as the fact that the most precious things in our human existence that are worth living are very few.

Taking things as they come could help us adapt to new situations that arise in our lives and make the best of them; coming to terms with the passing of time and, consequently, with our aging and seeing it as a privilege rather than a curse, avoiding being excessively worried or even stressed or depressed because we no longer seem as young as we would like to, is equally fundamental to maintaining our sanity and our balance in life.

Accepting and appreciating even the most minor things we get in life with love and gratitude is vital. As the Author states: "Today we live in the cybernetic age... there is ruthless competition in all fields of activity. There is also a continuous race for success to win, to reach the top of the social ladder..." (p. 37). The result is that many of us can no longer find fulfillment and joy in life because we are always looking for the next goal to reach. "…our mind continues to wander from one goal to another throughout our existence…We never rest in peace and never experience the tranquility of mind and contentment." (page 38)

Wisely, the Author understood that giving is better than receiving and that making someone happy by simplifying their life by doing something useful could bring happiness to them and us.

"This book is the result of that desire." (page 97)

Life Lessons from India - Memoirs of a Woman is a book written with an honest and caring attitude towards everyone by someone who has suffered and learned the most important lessons and is ready to share her experiences without restrictions nor shame with her readers.

Hemalatha's writing style is simple but captivating. Her messages are universal and reach the heart directly.

I recommend this book to everyone and even more so to those readers who might be fascinated by foreign cultures and biographies.

Lezioni di vita dall'India: memorie di una donna - di Hemalatha Gnanasekar - Recensione di Maria Teresa De Donato

 

Lezioni di vita dall'India: memorie di una donna

di Hemalatha Gnanasekar

 

Recensione di Maria Teresa De Donato

  

Coloro che fossero interessati a conoscere la cultura indiana così come vissuta e vista da una normale giovane donna della media borghesia, dotata di un atteggiamento premuroso e amorevole e un approccio pratico e concreto alla vita, ameranno questa pubblicazione.

Il libro inizia con la descrizione di un pujari (sacerdote) che esegue abhishekam (bagno) alla dea nel santuario davanti a tre pilastri neri mentre la congregazione canta preghiere.

Una domanda innocente posta da una bambina che vuole sapere "dove si trova la dea" visto che le uniche cose che si presentano ai suoi occhi sono proprio le tre colonne nere, riporta alla mente dell'Autrice esperienze e pensieri simili a quelli avuti durante la sua infanzia, incluso anche il momento imbarazzante quando lei stessa aveva posto una   simile domanda, pur ammirando la grande devozione e fede che le persone hanno in Dio. L’Autrice, tuttavia e per sua stessa ammissione, è più propensa a vedere "dio" nelle brave persone, in coloro che sono pronti "a dare una mano in caso di pericolo o difficoltà" (p. 6) e che sembrano essere inviati da Dio piuttosto che vedere quest’ultimo in cose inanimate.

Da quel momento in poi un ricordo dopo l'altro riaffiora nella sua mente: l'uomo con le borse "piene di verdure e provviste" (p. 6) che, tornando a casa, si fermava regolarmente a pregare il Dio Sole; le processioni religiose che si svolgevano lungo la strada dove le persone trasportavano le statue degli dei e facevano esplodere petardi o mettevano in scena drammi per dimostrare le capacità fisiche e/o la forza degli uomini; come il tutto lasciasse alcuni spettatori stupiti e altri completamente inorriditi (pp. 7, 8); l’avventura o disavventura, a seconda di come la si percepisca, del viaggio in un paesino lontano organizzato da suo padre quando lei era ancora una bambina.

Una volta suo marito aveva noleggiato un furgone, da 12 posti e con autista, per andare con la famiglia e alcuni parenti a una cerimonia di piercing delle orecchie. Arrivato davanti al cancello della loro casa, avevano notato che il van era molto vecchio e molte sue parti arrugginite. Durante il tragitto tanti erano i rumori che il van aveva prodotto quanto grande l’incertezza nei passeggeri che potesse portarli a destinazione. All'improvviso il furgone si era fermato in una zona lontana dal centro abitato perché ... il gasolio era finito.

Tra l’altro, nonostante il furgone disponesse solo di 12 posti, 20 erano le persone che, accalcandosi, erano riuscite a salire a bordo e a tenere i bambini seduti sulle gambe. La vettura era riuscita, comunque, a portarli a destinazione grazie a un signore che, passando lì per caso a bordo di un motorino, aveva portato il conducente del van al distributore di benzina più vicino e riportato dove era il van.

Le vacanze estive trascorse a casa dei nonni in paese; le ingiuste punizioni ricevute a scuola e, poi nella Vita, anche sul posto di lavoro; tutti i sacrifici fatti dai suoi genitori per dare a lei e ai suoi fratelli la migliore educazione e le migliori condizioni di vita possibili, sono tutti ricordi che, riaffiorandole alla mente, sottolineano la ricchezza in termini di esperienze, avute prima da bambina, poi da adolescente e da giovane adulta e gli insegnamenti e le lezioni che ha imparato, nonché il fatto che le cose più preziose nella nostra esistenza umana che valgano la pena di essere vissute siano in realtà pochissime.

Prendere le cose come vengono potrebbe aiutarci ad adattarci alle nuove situazioni che ci si presentano nella nostra vita e a trarne il meglio; accettare il passare del tempo e, conseguentemente, l’avanzare della nostra età, come un privilegio piuttosto che come una maledizione, evitando di essere eccessivamente preoccupati o addirittura stressati o depressi perché non sembriamo più così giovani come vorremmo, è altrettanto fondamentale per mantenere la nostra sanità mentale e il nostro equilibrio nella vita.

Accettare e apprezzare anche le cose più piccole che otteniamo nella vita con amore e gratitudine è fondamentale. Come afferma l'Autrice: "Oggi viviamo nell'era cibernetica... c'è una concorrenza spietata in tutti i campi di attività. C'è anche una continua corsa al successo per vincere, per raggiungere la vetta della scala sociale... " (p. 37)  Il risultato è che molti tra noi non riescono più a trovare appagamento e gioia nella Vita poiché sono sempre alla ricerca della prossima meta da raggiungere. "...la nostra mente continua a vagare da un obiettivo all'altro per tutta la durata della nostra esistenza... Non riposiamo mai in pace e non sperimentiamo mai la tranquillità della mente e l'appagamento." (pag. 38)

Saggiamente, l’Autrice ha capito che dare è meglio che ricevere e che rendere felice qualcuno semplificandogli la vita facendo qualcosa di utile potrebbe portare felicità a lui e a noi.

"Questo libro è il risultato di quel desiderio." (pag. 97)

Lezioni di vita dall'India - Memorie di una donna è un libro scritto con un atteggiamento onesto e premuroso verso tutte le persone da qualcuno che ha sofferto e imparato le lezioni più importanti ed è pronto a condividere con i suoi lettori le sue esperienze senza restrizioni né vergogna.

Lo stile di scrittura di Hemalatha è semplice ma accattivante. I suoi messaggi sono universali e raggiungono direttamente il cuore.

Consiglio questo libro a tutti e ancora di più a quei lettori che potrebbero essere affascinati dalle culture straniere e dalle biografie.

 

Lebenslektionen aus Indien – Die Memoiren einer Frau - von Hemalatha Gnanasekar - Rezension von Maria Teresa De Donato

 

Lebenslektionen aus Indien – Die Memoiren einer Frau

von Hemalatha Gnanasekar

Rezension von Maria Teresa De Donato

 

Diejenigen, die mehr über die indische Kultur erfahren und sehen möchten, wie sie von einer gewöhnlichen jungen Frau aus der Mittelschicht mit einer fürsorglichen, liebevollen Einstellung und einer praktischen, bodenständigen Einstellung zum Leben erlebt und gesehen wird, werden diese Veröffentlichung lieben.

Das Buch beginnt mit der Beschreibung eines Pujari (Priester), der im Allerheiligsten vor drei schwarzen Säulen Abhishekam (Baden) für die Göttin durchführt, während die Gemeinde Gebete singt.

Eine unschuldige Frage eines Kindes, das wissen möchte, “wo die Göttin ist”, angesichts der Tatsache, dass die einzigen Dinge, die seinen Augen erscheinen, die drei schwarzen Säulen sind, weckt bei der Autorin ähnliche Erfahrungen und Gedanken wie in ihrer Kindheit, einschließlich des peinlichen Moments, als sie selbst eine ähnliche Frage gestellt hatte, obwohl sie die große Hingabe und den Glauben der Menschen an Gott bewunderte. Die Autorin neigt jedoch nach eigenem Bekunden eher dazu, “Gott„ in guten Menschen zu sehen diejenigen, die bereit sind, “im Falle von Gefahr oder Schwierigkeiten Hand anzulegen„ (S. 6) und die den Eindruck erwecken, von Gott gesandt zu sein, anstatt ihn in unbelebten Dingen zu sehen.

Von diesem Moment an taucht eine Erinnerung nach der anderen in ihrem Kopf auf: der Mann mit Säcken “voller Gemüse und Proviant„ (S. 6), der auf dem Heimweg regelmäßig anhielt, um zum Sonnengott zu beten; die religiösen Prozessionen, die entlang der Straße stattfanden, bei denen Menschen Götterstatuen trugen und Feuerwerkskörper zündeten oder Dramen inszenierten, um die körperlichen Fähigkeiten und/oder Stärke der Männer zu demonstrieren; wie das alles einige Zuschauer in Erstaunen versetzte und andere völlig entsetzt zurückließ (S. 7, 8); das Abenteuer oder Missgeschick, je nachdem, wie man es wahrnimmt, der Reise in ein fernes Dorf, die ihr Vater organisiert hatte, als sie noch ein Kind war.

Einmal hatte Ihr Mann einen 12-Sitzer-Van mit Fahrer gemietet, um mit der ganzen Familie und einigen Verwandten zu einer Zeremonie zum Ohrlochstechen zu fahren. Als der Van am Tor ihres Hauses ankam, stellten sie fest, dass der Lieferwagen sehr alt und viele Teile rostig waren. Während der Fahrt gab es so viele Geräusche, die der Transporter verursacht hatte, dass unter den Passagieren große Unsicherheit herrschte, ob er sie an ihr Ziel bringen würde. Plötzlich hatte der Transporter in einem Gebiet weit weg von der Stadt angehalten, weil... der Diesel ausgegangen war.

Obwohl der Transporter nur 12 Sitzplätze hatte, schafften es unter anderem 20 dichtgedrängte Personen, an Bord zu gelangen und die Kinder auf dem Schoß sitzen zu lassen. Das Auto hatte es jedoch geschafft, sie an ihr Ziel zu bringen, dank eines Herrn, der zufällig mit einem Moped dort vorbeikam, den Fahrer des Lieferwagens zur nächsten Tankstelle brachte und ihn dorthin zurückbrachte, wo der Lieferwagen stand.

Die Sommerferien im Haus der Großeltern im Dorf verbracht; die ungerechten Strafen in der Schule und später auch am Arbeitsplatz; All die Opfer, die ihre Eltern gebracht haben, um ihr und ihren Geschwistern die bestmögliche Ausbildung und die bestmöglichen Lebensbedingungen zu ermöglichen, sind alles Erinnerungen, die in ihrem Kopf wieder auftauchen und den Reichtum an Erfahrungen unterstreichen, die sie zuerst als Kind, dann als Teenager und junge Erwachsene gemacht und die Lehren und Lektionen, die sie gelernt hat, sowie die Tatsache, dass es in unserer menschlichen Existenz tatsächlich nur sehr wenige wertvollste und lebenswerte Dinge gibt.

Die Dinge so zu nehmen, wie sie kommen, könnte uns helfen, uns an neue Situationen in unserem Leben anzupassen und das Beste daraus zu machen; Den Lauf der Zeit und damit das Fortschreiten unseres Alters als Privileg und nicht als Fluch zu akzeptieren und zu vermeiden, übermäßig besorgt oder sogar gestresst oder deprimiert zu sein, weil wir nicht mehr so ​​jung erscheinen, wie wir es gerne hätten, ist ebenso wichtig für die Aufrechterhaltung unseres Lebens geistige Gesundheit und unser Gleichgewicht im Leben.

Selbst die kleinsten Dinge, die wir im Leben bekommen, mit Liebe und Dankbarkeit anzunehmen und zu schätzen, ist der Schlüssel. Wie die Autorin feststellt: “Heute leben wir im kybernetischen Zeitalter... es gibt einen rücksichtslosen Wettbewerb in allen Tätigkeitsbereichen. Es gibt auch einen ständigen Wettlauf um Erfolg, um zu gewinnen, um die Spitze der sozialen Leiter zu erreichen...„ ( S. 37) Die Folge ist, dass viele von uns nicht mehr in der Lage sind, Erfüllung und Freude im Leben zu finden, weil wir immer auf der Suche nach dem nächsten Ziel sind, das es zu erreichen gilt. “…unser Geist wandert während unseres gesamten Lebens ständig von einem Ziel zum anderen… Wir ruhen nie in Frieden und erfahren nie geistige Ruhe und Zufriedenheit.„ (Seite 38)

Die Autorin hat mit Bedacht verstanden, dass Geben besser ist als Nehmen und dass es ihr und uns Glück bringen kann, jemanden glücklich zu machen, indem er sein Leben vereinfacht, indem er etwas Nützliches tut.

“Dieses Buch ist das Ergebnis dieses Wunsches.„ (Seite 97)

Lebenslektionen aus Indien – Erinnerungen einer Frau ist ein Buch, das mit einer ehrlichen und fürsorglichen Haltung gegenüber allen Menschen von jemandem geschrieben wurde, der gelitten und die wichtigsten Lektionen gelernt hat und bereit ist, ihre Erfahrungen ohne Einschränkungen oder Scham mit ihren Lesern zu teilen.

Hemalathas Schreibstil ist einfach, aber fesselnd. Ihre Botschaften sind universell und erreichen das Herz direkt.

Ich empfehle dieses Buch jedem und vor allem jenen Lesern, die vielleicht von fremden Kulturen und Biografien fasziniert sind.

Agostino Steffani

 

(Castelfranco Veneto, 25 July 1655 - Frankfurt am Main, 12 February 1728)

He was born in 1655 in Castelfranco, in the Republic of Venice. Formed with Francesco Cavalli, he became singer of the Choir of San Marco in Venice. Ferdinand Maria di Bavaria and her wife Enrichetta Adelaide of Savoy who listened to her in Padua, they tried so much pleasure that they asked the chief chorus to be able to bring him to their court Wittelsbach to Munich, promising to provide for his needs and ensure him a future.

In Munich he was entrusted to the music master Johann Kaspar Kerll. In 1672 he was brought to Rome to the care of Ercole Bernabei. Under such a teacher, the boy's progress were quick. Steffani had entered the seminary after having done his studies, received the tonsure and took the title of Abbot, who always kept.

Having become a distinct composer, he first wrote for the church, in particular more put for the chapel of the Bavaria elector in Munich of which he became court organist since 1675. He was only nineteen years when he published a collection of eight voices psalms in which a certain art of writing is already noted. This collection was followed by sonatas for four tools and two -voices duets with continuous bass, the work of greater merit and which are often put in parallel with those of Clari, who took them as a model. All these works, composed for the Court of Monaco, were later rewarded by the appointment in abbot of Leipzig.

From 1709 he devoted himself to the diplomatic career and in 1710 he left his place as a chapel master, designating Händel as his successor. After a long absence from his homeland Steffani returned, in 1720, passing all over the winter of that year in Rome, often hosted by Cardinal Ottoboni who loved to have his works performed. Elected honorary member of the Academy of Vocal Music in London in 1724, he was invited to send some works and for this occasion Steffani composed a madrigal, followed by the education follows Madrigale and introduced by the chamber duet the song you want, probably attributable to Steffani.

In 1727, he returned to Italy where he met Händel for the last time, composing a Dixit Dominus/Stabat Mater, the work of maturity and his tormented religious fervor. Shortly afterwards he returned to Hanover and, forced to go to Frankfurt, he fell ill and died in a few days in seventy -three years old, in 1728.

The State Conservatory of Music of his city of origin, Castelfranco Veneto, is dedicated to him.

Suites Théatras.

Can the work be a shame? We would not have wanted the Pope's recent words of appreciation towards Giuseppe Verdi to respond cordially in the negative to the question. The Abbate Agostino Steffani had already written more than a dozen of the soundtracks of work before becoming a papal correspondent in 1709 and after the work he was allowed to shape the history of the German church.

It is a shame, otherwise there would be more than his music, formulated precisely in every joke, which has influenced Handel in an audible way and represents a truly unique synthesis of French and Italian styles. A publisher from Amsterdam has published two suite instrumental from his works during Steffani's life; The experts of the sonators of La Gioiosa Marca compared these suite with the original scores and added two openings like encore.

The Hannover Agostino Chapel Steffani published a success of a success of a main work ("Enrico Leone") with many of the dances recorded here twelve years ago. But the new recording has contagious theatricality even without arias. The historical clan of the ensemble is direct and full -bodied, the French influence dance movements are round and physical. It almost seems that the kicks of the dancers have mixed with the rhythms of the colored drums. It is not surprising that the producers have let themselves be seduced to make the tone dish work and the wind machine alone.

Incidentally, Steffani noted these special effects as well as the refrain, which unexpectedly bursts into the fucked part of two openings. The man is definitely good for other surprises.

Agostino Steffani

 

(Castelfranco Veneto, 25 luglio 1655 – Francoforte sul Meno, 12 febbraio 1728) 

Nacque nel 1655 a Castelfranco, nella Repubblica di Venezia. Formatosi con Francesco Cavalli, divenne cantante del coro di San Marco a Venezia. Ferdinando Maria di Baviera e la sua consorte Enrichetta Adelaide di Savoia che l'ascoltavano a Padova, ne provarono tanto piacere che chiesero al capo coro di poterlo portare alla loro corte Wittelsbach a Monaco di Baviera, promettendo di provvedere ai suoi bisogni e di assicurargli un avvenire.
A Monaco fu affidato al maestro di musica Johann Kaspar Kerll. Nel 1672 fu portato a Roma alle cure di Ercole Bernabei. Sotto un tale maestro, i progressi del ragazzo furono rapidi. Steffani era entrato in seminario dopo avervi fatto i suoi studi, ricevette la tonsura e prese il titolo di abate, che conservò sempre.
Divenuto un distinto compositore, scrisse dapprima per la chiesa, in particolare più messe per la cappella dell'elettore di Baviera a Monaco di cui divenne organista di Corte dal 1675. Non aveva che diciannove anni quando pubblicò una raccolta di salmi a otto voci nei quali si nota già una certa arte di scrivere. Questa raccolta fu seguita da sonate per quattro strumenti e duetti a due voci con basso continuo, opera di più grande merito e che vengono spesso messi in parallelo con quelli di Clari, che li prese a modello. Tutte queste opere, composte per la corte di Monaco, furono più tardi ricompensate dalla nomina ad abate di Lipsia.
Dal 1709 si dedicò alla carriera diplomatica e nel 1710 lasciò il suo posto di maestro di cappella, designando Händel come suo successore. Dopo una lunga assenza dalla sua patria Steffani vi tornò, nel 1720, passando tutto l'inverno di quell'anno a Roma, ospitato spesso dal cardinale Ottoboni che amava far eseguire le sue opere. Eletto membro onorario dell'Academy of Vocal Music di Londra nel 1724, fu invitato a inviare alcune opere e per tale occasione Steffani compose un madrigale, seguito dall'istruzione Segue Madrigale e introdotto dal duetto da camera La canzona che volete, probabilmente ascrivibile a Steffani.
Nel 1727, ritornò in Italia dove incontrò Händel per l'ultima volta, componendo un Dixit Dominus/Stabat mater, opera della maturità e del suo tormentato fervore religioso. Poco tempo dopo fece ritorno ad Hannover e, obbligato a recarsi a Francoforte, si ammalò e morì nel giro di qualche giorno a settantatré anni, nel 1728.
A lui è dedicato il Conservatorio Statale di musica della sua città di origine, Castelfranco Veneto.

Suites Théatrales.
L'opera può essere un peccato? Non ci sarebbero volute le recenti parole di apprezzamento del Papa nei confronti di Giuseppe Verdi per rispondere cordialmente in negativo alla domanda. L'abbate Agostino Steffani aveva già scritto più di una dozzina di colonne sonore d'opera prima di diventare inviato papale nel 1709 e dopo l'opera gli fu permesso di plasmare la storia della chiesa tedesca.
È un peccato, altrimenti ci sarebbe più della sua musica, formulata con precisione in ogni battuta, che ha influenzato in modo udibile Handel e rappresenta una sintesi davvero unica di stili francese e italiano. Un editore di Amsterdam ha pubblicato due suite strumentali dalle sue opere durante la vita di Steffani; gli esperti dei Sonatori de la Gioiosa Marca hanno confrontato queste suite con le partiture originali e hanno aggiunto due aperture come bis.
La Cappella di Hannover Agostino Steffani pubblicò uno spaccato di successo di un'opera principale ("Enrico Leone") con molti dei balli qui registrati dodici anni fa. Ma la nuova registrazione ha una teatralità contagiosa anche senza arie. Il clan storico dell'ensemble è diretto e corposo, i movimenti di danza di influenza francese sono rotondi e fisici. Sembra quasi che i calci dei ballerini si siano mescolati ai ritmi dei tamburi colorati. Non c'è da stupirsi che i produttori si siano lasciati sedurre a far funzionare il piatto del tuono e la macchina del vento da soli.
Per inciso, Steffani ha annotato questi effetti speciali così come il ritornello, che irrompe inaspettatamente nella parte fugata di due aperture. L'uomo è decisamente buono per altre sorprese.

Agostino Steffani

(Castelfranco Veneto, 25. Juli 1655 - Frankfurt am Main, 12. Februar 1728)

Er wurde 1655 in Castelfranco in der Republik Venedig geboren. Mit Francesco Cavalli gegründet wurde er Sänger des Chores von San Marco in Venedig. Ferdinand Maria di Bayern und ihre Frau Enrichetta Adelaide von Savoy, die sie in Padua zuhörten, versuchten so viel Vergnügen, dass sie den Chef -Chor baten, ihn zu ihrem Hof ​​Wittelsbach nach München bringen zu können, um ihn für seine Bedürfnisse zu versorgen und ihn für eine Zukunft sicherzustellen.

In München wurde er dem Musikmeister Johann Kaspar Kerll anvertraut. 1672 wurde er nach Rom zur Obhut von Ercole Bernabei gebracht. Unter einem solchen Lehrer waren die Fortschritte des Jungen schnell. Steffani hatte das Seminar eingetreten, nachdem er sein Studium durchgeführt hatte, die Tonhöhe erhielt und den Titel von Abbot nahm, der immer behalten hatte.

Nachdem er ein ausgeprägter Komponist geworden war, schrieb er zum ersten Mal für die Kirche, insbesondere für die Kapelle des Bayern -Wählers in München, der er seit 1675 einen Gerichtsverwalter wurde. Auf diese Sammlung folgten Sonaten für vier Werkzeuge und zwei Duette mit kontinuierlichem Bass, die Arbeiten von größerem Verdienst und die oft parallel zu denen von Clari, die sie als Modell nahmen. Alle diese Arbeiten, die für das Gericht von Monaco komponiert wurden, wurden später durch die Ernennung in Abt von Leipzig belohnt.

Ab 1709 widmete er sich der diplomatischen Karriere und verließ 1710 seinen Platz als Chapel -Meister und bezeichnete Händern als seinen Nachfolger aus. Nach einer langen Abwesenheit von seinem Heimatland kehrte Steffani 1720 im Winter dieses Jahres in Rom zurück und war oft von Kardinal Ottoboni veranstaltet, der es liebte, seine Werke aufzutreten. Er wurde 1724 zum Ehrenmitglied der Academy of Vocal Music in London gewählt und wurde eingeladen, einige Werke zu schicken, und für diese Gelegenheit komponierte Steffani ein Madrigal, gefolgt von der Ausbildung, die Madrigale folgt und vom Kammer -Duett vorgestellt wurde.

1727 kehrte er nach Italien zurück, wo er Händel zum letzten Mal traf und eine Dixit Dominus/Stabat Mater, die Reifearbeit und seine gequälte religiöse Leidenschaft zusammenstellte. Kurz darauf kehrte er nach Hannover zurück und musste nach Frankfurt krank wurden und starb 1728 in ein paar Tagen in dreiundsiebzig Jahren.

Das staatliche Musikkonservatorium seiner Herkunftsstadt, Castfranco Veneto, ist ihm gewidmet.

Suites Théatras.

Kann die Arbeit eine Schande sein? Wir hätten nicht gewollt, dass die jüngsten Worte des Papstes für Giuseppe Verdi im negativen auf die Frage herrschend reagieren. Der Abbate Agostino Steffani hatte bereits mehr als ein Dutzend Soundtracks der Arbeit geschrieben, bevor er 1709 päpstlicher Korrespondent wurde, und nach der Arbeit durfte er die Geschichte der deutschen Kirche gestalten.

Es ist eine Schande, ansonsten gäbe es mehr als seine Musik, die in jedem Witz genau formuliert wurde, was Handel auf hörbare Weise beeinflusst hat und eine wirklich einzigartige Synthese französischer und italienischer Stile darstellt. Ein Verlag aus Amsterdam hat zwei Suite -Instrumente aus seinen Werken während Steffanis Leben veröffentlicht. Die Experten der Sonatoren von La Gioiosa Marca verglichen diese Suite mit den ursprünglichen Punktzahlen und fügten zwei Öffnungen wie Encore hinzu.

Die Hannover Agostino Chapel Steffani veröffentlichte einen Erfolg eines Erfolgs einer Hauptarbeit ("Enrico Leone") mit vielen der hier vor zwölf Jahren aufgezeichneten Tänze. Aber die neue Aufnahme hat auch ohne Arien ansteckende Theatralik. Der historische Clan des Ensembles ist direkt und voll, der französische Einfluss der Tanzbewegungen sind rund und physisch. Es scheint fast, dass sich die Tritte der Tänzer mit den Rhythmen der farbigen Trommeln gemischt haben. Es ist nicht überraschend, dass die Produzenten sich verführt haben, damit die Klangschale und die Windmaschine allein funktioniert.

Im Übrigen bemerkte Steffani diese Spezialeffekte sowie den Refrain, der unerwartet in den gefickten Teil von zwei Öffnungen einbricht. Der Mann ist definitiv gut für andere Überraschungen.

The Norman and the Secrets of the Castle - by Eleonora Davide - Review by Maria Teresa De Donato

 The Norman and the Secrets of the Castle

by Eleonora Davide

 

Review by Maria Teresa De Donato

  

Eleonora Davide's skilled pen immerses us, once again, in the fascinating, mysterious, and equally fraught pitfalls of the medieval world.

As in the previous two novels of  The Norman Saga, in this latest work, Eleonora, while leaving her imagination free, tries to remain as faithful as possible to the events and historical characters that have occurred over the centuries in her Irpinia. She does this thanks to a profound study and meticulous research among the pages of some historians of her land.

However, contrary to what happened in The Norman and Dominus, the Code of Fate, in The Norman and the Secrets of the Castle, the Author changes by coloring the novel with Fantasy tones.

Along with the components also present in the previous publications of this series – the structure of the Castle, life in the manor, activities carried out by both the lords and their servants, fights, and plots of all kinds that regulate the life and politics of the time, sense of sacredness and religiosity – she adds new ones. First of all, is the mysterious and equally sudden disappearance of Martino, the young main character of this book, who, by getting too close to a wall of the remains of the Monteforte Castle, where at sunset he had gone for a walk with his beautiful and beloved Marianna, falls and vanishes into thin air.

So, while the girl, among the bushes and the ruins of the manor, continues to call him desperately looking for him and fearing the worst, Martino lives an experience that leads him, between one stage and another, to cross the Middle Ages, becoming an eyewitness of some historical events of his Monteforte, or rather Mons Fortis, as those he meets on his path call it.

Thanks to what he initially cannot understand, whether it is a dream, a hallucination, or, on the contrary, a journey into another dimension or through time, Martino finds himself among the tents of military camps ready for battle with the enemy: we are, in fact, in the midst of the feudal era in which we witness continuous conflicts not only between the Normans and the Lombards but also between the various Lords, each of whom claims the right to a particular territory and everything found on it.

Martino, given his evident behavioral diversity, but also linked to what others perceive as his strange language and clothing, sometimes passes for a fool, other times for a madman, still others for an individual who, although perplexing, arouses curiosity and interest ... Depending on the circumstances, he finds himself in the presence not only of dangerous, violent characters who should definitely be kept away but also in front of the Lords of the time, first of all William the Carbon, Lord of Monteforte – well yes, precisely that of the Palio, he will find himself thinking.

He will also meet valiant warriors and self-revealed representatives of the temporal power of the Church who have made History – the one with a capital H reported in the books but also the local one, made up of ordinary people and people who would undoubtedly deserve greater attention in the following centuries and who, unfortunately, whatever the reason, they have gone entirely unnoticed or almost so.

The narrative, in addition to being compelling and intriguing, so much so that it fascinates the readers from the first to the last page, keeping them in suspense, presents some exciting themes. Among these, perhaps the most important is precisely the observation that the Author herself makes through Martino, with which the reader is encouraged to make an objective criticism of the History and the characters and events mentioned in it: Who decided who should appear as a true protagonist in history books and which events had greater relevance than others?

The novel highlights how the 'minor' stories are as important as those commonly handed to us through books. For individual communities, it is, in fact, fundamental to know and delve into local History because it is the one closest to them, made by their ancestors – whether patricians or plebeians – and it is precisely where the roots of their traditions and their culture lie.

Another exciting aspect is the journey that Martino takes 'through time,' probably crossing temporal and spatial limits and exceeding those of matter in its physicality.

His journey through time proves to have a double utility: on the one hand, it allows him to be an eyewitness, and in some cases even a protagonist or co-protagonist, of events which – as History will later demonstrate – will determine the future, not only of individuals but of entire communities, and on the other hand it allows him, who comes from a future world, to anticipate to his interlocutors what will happen and, in some cases, how to be able to solve a problem and even defeat the enemy in battle.

Martino, in fact, despite humbly admitting his limitations in terms of knowledge of History, using information obtained from reading some books on the subject, including novels assigned as homework for the holidays, as well as information material distributed by the Pro Loco, will even suggest to Marquis Bertoldo of the house of the Hohenburg, Lord of Monteforte, how to win the battle against the enemy using the "Frisia’s Horses." The latter, he will explain to Bertoldo and his men, is a defensive obstacle, already used by the ancient Romans, which Publius Vegetius Renatus has fully explained in his treatise on the art of war Epitoma rei militaris, i.e., The art of war, written between late 4th and early 5th century A.D.

Although Martino's journey through time often appears more like a nightmare from which there seems to be no way out rather than a beautiful adventure, there is no shortage of pleasant moments and positive experiences.

Among the notable figures, he meets Cielo D'Alcamo "a poet... whom Frederick II had appreciated, praised and supported, until his fame as a man of letters had spread throughout the Kingdom..." (Davide, 2023, p. 150) and whose performance at the Castle reminds Martino of rock star concerts, leading him to the conclusion that, after all, nothing has changed over the centuries: music still exercises great power over the public today just as it did then.

He also witnesses how the guests of honor are received with celebrations in which the regal decorations are accompanied by the equally luxurious clothes the men and women wear for the occasion, all accompanied by rich and tasty banquets in which there seems to be no shortage of anything. Courses of animals of all sorts, from birds to "roasts with spices and covered in honey...", sauces, bread and wine in abundance, fish, fruit, mushrooms, cheeses and desserts of all kinds (pp. 154, 155) they follow one another at the table with the women who work hard to make sure that all the dishes are served at the right time, in the perfect way and that everyone present appreciates and enjoys the food so lovingly and carefully prepared.

Therefore, the Norman and the Secrets of the Castle is a novel written in a flowing style like the Author's. It will fascinate adults and children, stimulating, in those who do not already have it, an interest in reading and, above all, in History. It will also remind each of us that "the weapons with which we fight for life are not only those of steel but also those of knowledge" (p. 88) and that, to use the words that Martino addresses to Leandro, a friend he met on his journey back in time, "Books... [are] a very effective means of transport between the centuries." (p. 140)

 

Il Normanno e i segreti del Castello - di Eleonora Davide - Recensione di Maria Teresa De Donato

 Il Normanno e i segreti del Castello

di Eleonora Davide

 

Recensione di Maria Teresa De Donato

 

L’abile penna di Eleonora Davide ci fa immergere, ancora una volta, nell’affascinante, misterioso e altrettanto irto di insidie mondo medievale.

Come nei precedenti due romanzi della saga de Il Normanno, anche in questo suo ultimo lavoro, Eleonora, pur lasciando libera la sua fantasia, cerca di mantenersi quanto più fedele possibile agli eventi e ai personaggi storici che si sono susseguiti nei secoli nella sua Irpinia. Fa questo grazie a un profondo studio e a una minuziosa ricerca tra le pagine di alcuni storici della sua terra.

Tuttavia, al contrario di quanto accaduto ne Il Normanno e in Dominus, il codice del destino, ne Il Normanno e i segreti del Castello l’Autrice fa una virata colorando il romanzo di toni Fantasy.

Alle componenti presenti anche nelle precedenti pubblicazioni di questa serie – struttura del castello, vita nel maniero, attività svolte sia dai signori sia dai loro servitori, combattimenti e trame di ogni tipo che regolano la vita e la politica del tempo, senso della sacralità e della religiosità – se ne aggiungono altre.  Prima fra tutte è proprio la misteriosa e altrettanto improvvisa scomparsa di Martino, il giovane protagonista di questo libro, il quale, avvicinandosi troppo a un muretto dei resti del Castello di Monteforte, dove al tramonto era andato a passeggiare con la sua bella e amata Marianna, cade svanendo nel nulla.

Così, mentre la ragazza, tra i cespugli e le rovine del maniero, continua a chiamarlo cercandolo disperatamente e temendo il peggio, Martino vive un’esperienza che lo porta, tra una tappa e l’altra, ad attraversare il Medioevo diventando testimone oculare di alcuni eventi storici della sua Monteforte, anzi Mons Fortis, come la chiamano coloro che incontra sul suo cammino.

Grazie a quello che inizialmente non riesce a capire se sia un sogno, un’allucinazione, o, al contrario un viaggio in un’altra dimensione o nel tempo, Martino si ritrova tra le tende di accampamenti militari pronti allo scontro con il nemico: siamo, infatti, in piena epoca feudale in cui assistiamo a continue battaglie non solo tra normanni e longobardi, ma anche tra i vari Signori ciascuno dei quali rivendica il diritto ad un certo territorio e a tutto ciò che si trova su di esso.

Martino, data la sua evidente diversità comportamentale, ma anche legata a quello che viene percepito come il suo strano linguaggio e vestiario, a volte passa per scemo, altre per matto, altre ancora per un soggetto che, pur lasciando perplessi, desta curiosità e interesse ... A seconda delle circostanze, si trova al cospetto non solo di personaggi pericolosi, violenti e da tenere decisamente alla larga, ma anche di fronte a Signori dell’epoca, primo fra tutti Guglielmo il Carbone, Signore di Monteforte– ebbene sì, proprio quello del Palio, si scoprirà a pensare.

Incontrerà anche valorosi guerrieri e autoreveli rappresentanti del potere temporale della Chiesa che hanno fatto la Storia – quella con la S maiuscola riportata nei libri, ma anche quella locale, fatta di gente comune e persone che avrebbero meritato sicuramente maggiore attenzione nei secoli successivi e che, purtroppo, qualunque ne sia la ragione, sono passati del tutto inosservati o quasi.

La narrazione, oltre ad essere avvincente e intrigante, tanto da affascinare il lettore dalla prima all’ultima pagina tenendolo con il fiato sospeso, presenta delle tematiche molto interessanti.  Fra queste forse la più importante è proprio l’osservazione, che la stessa Autrice fa fare a Martino, con la quale il lettore viene incoraggiato a un’oggettiva critica della Storia e dei personaggi e degli eventi in essa menzionati: chi ha deciso chi dovesse apparire come vero protagonista nei libri di Storia e quali eventi avessero maggior rilevanza rispetto ad altri?

Il romanzo evidenzia come le Storie ‘minori’ rivestano altrettanta importanza di quella comunemente tramandataci attraverso i libri. Per le singole comunità è, infatti, fondamentale conoscere e approfondire la Storia locale, perché è quella a loro più vicina, fatta dai loro antenati – patrizi o plebei che fossero – ed è proprio lì che affondano le loro radici, le loro tradizioni e la loro cultura.

Altro aspetto interessante è il viaggio che Martino compie ‘nel tempo’, varcando probabilmente i limiti temporali e spaziali e superando, quindi, anche quelli della materia nella sua fisicità. 

Il suo viaggio nel tempo mostra di avere una doppia utilità: da una parte gli consente di essere testimone oculare, e in alcuni casi persino protagonista o co-protagonista, di eventi che – come la Storia poi dimostrerà – determineranno il futuro non solo di singoli uomini ma di intere comunità, e dall’altra gli permette, provenendo lui da un mondo futuro, di anticipare ai suoi interlocutori ciò che accadrà e, in alcuni casi, come riuscire a risolvere un problema e persino a sconfiggere il nemico in battaglia. 

Martino, infatti, malgrado ammetta umilmente i suoi limiti in quanto a conoscenza della Storia, utilizzando informazioni avute leggendo alcuni libri in materia, tra cui romanzi assegnati come compiti per le vacanze, nonché materiale informativo diffuso dalla Pro Loco, suggerirà persino al Marchese Bertoldo della casa degli Hohenburg, Signore di Monteforte, il modo in cui vincere la battaglia contro il nemico avvalendosi dei “Cavalli di Frisia”.  Questi ultimi, spiegherà a Bertoldo e ai suoi uomini, sono un ostacolo difensivo, usato già dagli antichi Romani, che Publio Vegezio Renato ha ampliamente spiegato nel suo trattato sull’arte bellica Epitoma rei militaris, ossia L’arte della guerra, scritto tra la fine del IV e gli inizi del V secolo A.D.

Malgrado il viaggio di Martino nel tempo spesso appaia più come un incubo da cui sembra non esserci via d’uscita piuttosto che una bella avventura, i momenti piacevoli e le esperienze positive non mancano.

Tra i personaggi di rilievo, incontra Cielo D’Alcamo “un poeta... che Federico II aveva apprezzato, lodato e sostenuto, finché la sua fama di letterato non si era sparsa per il Regno...” (Davide, 2023, p. 150) e la cui esibizione al Castello ricorda a Martino i concerti delle rockstar, facendolo approdare alla conclusione che, dopotutto, nei secoli nulla è cambiato: la musica esercita ancora oggi un grande potere sul pubblico proprio come allora.

È testimone anche di come gli ospiti d’onore vengano ricevuti con festeggiamenti in cui agli addobbi regali si affiancano gli abiti altrettanto lussuosi degli uomini e delle donne indossati per l’occasione, il tutto accompagnato da ricchi e gustosi banchetti in cui sembra non mancare assolutamente nulla.  Portate di animali di ogni sorta, dai volatili agli “arrosti con spezie e ricoperti di miele...”, salse, pane e vino in abbondanza, pesce, frutta, funghi, formaggi e dolci di ogni tipo (pp. 154, 155) si susseguono a tavola con le donne che si danno un gran daffare per essere certe che tutte le pietanze siano servite al momento giusto, nel modo perfetto e che tutti i presenti apprezzino e gustino il cibo così amorevolmente e accuratamente preparato.

Il Normanno e i segreti del Castello è, dunque, un romanzo scritto in uno stile scorrevole come è quello dell’Autrice, che appassionerà adulti e ragazzi sollecitando, in chi già non lo avesse, l’interesse per la lettura e, soprattutto, per la Storia.  Ricorderà, inoltre, a ognuno di noi che “le armi con cui si combatte per la vita non sono solo quelle d’acciaio, ma anche quelle della conoscenza” (p. 88) e che, per usare le parole che Martino rivolge a Leandro, amico incontrato in questo suo viaggio a ritroso nel tempo, “I libri... [sono] un mezzo di trasporto tra i secoli molto efficace.” (p. 140)

Der Normanne und die Geheimnisse des Schlosses - von Eleonora Davide - Rezension von Maria Teresa De Donato

 Der Normanne und die Geheimnisse des Schlosses

von Eleonora Davide

 

Rezension von Maria Teresa De Donato

 

 

Eleonora Davides gekonnte Feder lässt uns erneut in die faszinierende, geheimnisvolle und ebenso voller Tücken steckende Welt des Mittelalters eintauchen.

Wie in den beiden vorherigen Romanen der Il Normanno-Saga versucht Eleonora auch in diesem neuesten Werk, ihrer Fantasie freien Lauf zu lassen, den historischen Ereignissen und Charakteren, die sich im Laufe der Jahrhunderte in ihrem Irpinia ereignet haben, so treu wie möglich zu bleiben. Dies gelingt ihr dank eingehender Studien und sorgfältiger Recherche auf den Seiten einiger Historiker ihres Landes.

Doch im Gegensatz zu dem, was in Der Normanne und in Dominus, der Code des Schicksals geschah, nimmt die Autorin in Der Normanne und die Geheimnisse des Schlosses eine Änderung vor, indem sie den Roman mit Fantasy-Tönen färbt.

Zu den Komponenten, die auch in den vorherigen Veröffentlichungen dieser Reihe vorhanden waren – Struktur des Schlosses, Leben im Herrenhaus, Aktivitäten sowohl der Herren als auch ihrer Diener, Kämpfe und Intrigen aller Art, die das Leben und die Politik der Zeit regelten, Sinn für Heiligkeit und Religiosität – weitere kommen hinzu. Zunächst geht es um das mysteriöse und ebenso plötzliche Verschwinden von Martino, dem jungen Protagonisten dieses Buches, der einer Mauer aus den Überresten des Schlosses von Monteforte zu nahe kam, wo er bei Sonnenuntergang mit seiner schönen und geliebten Mariann spazieren gegangen war, fällt und löst sich in Luft auf.

Während das Mädchen zwischen den Büschen und den Ruinen des Herrenhauses ihn immer wieder anruft, verzweifelt nach ihm sucht und das Schlimmste befürchtet, erlebt Martino eine Erfahrung, die ihn von einer Etappe zur anderen durch das Mittelalter führt und immer mehr wird ein Augenzeuge einiger historischer Ereignisse seines Monteforte, oder besser gesagt Mons Fortis, wie diejenigen, denen er auf seinem Weg begegnet, es nennen.

Dank dessen, was er zunächst nicht verstehen kann, ob es sich um einen Traum, eine Halluzination oder im Gegenteil um eine Reise in eine andere Dimension oder durch die Zeit handelt, findet sich Martino zwischen den Zelten von Militärlagern wieder, bereit für den Kampf mit dem Feind: Wir sind … in der Tat, mitten in der Feudalzeit, in der wir Zeuge ständiger Kämpfe nicht nur zwischen den Normannen und den Langobarden, sondern auch zwischen den verschiedenen Herren sind, von denen jeder das Recht auf ein bestimmtes Territorium und alles, was sich darauf befindet, beansprucht.

Martino gilt aufgrund seiner offensichtlichen Verhaltensvielfalt, aber auch im Zusammenhang mit seiner als seltsam empfundenen Sprache und Kleidung, manchmal für einen Narren, manchmal für einen Verrückten, wieder andere für ein Subjekt, das zwar verwirrend, aber Neugier und Interesse weckt ... Je nach den Umständen gerät er nicht nur in die Gegenwart gefährlicher, gewalttätiger Charaktere, die man unbedingt fernhalten sollte, sondern auch vor die Herren der damaligen Zeit, allen voran Wilhelm der Karbon, Herr von Monteforte – nun ja, Genau das des Palio, wird er sich selbst beim Nachdenken ertappen.

Er wird auch tapfere Krieger und selbstoffenbarte Vertreter der weltlichen Macht der Kirche treffen, die Geschichte geschrieben haben – die mit einem großen G in den Büchern erwähnte, aber auch die lokale, bestehend aus einfachen Menschen und Leuten, die es sicherlich tun würden in den folgenden Jahrhunderten größere Aufmerksamkeit verdienen und die leider, aus welchen Gründen auch immer, völlig oder fast unbemerkt geblieben sind.

Die Erzählung ist nicht nur fesselnd und faszinierend, so dass sie den Leser von der ersten bis zur letzten Seite fasziniert und in Atem hält, sondern präsentiert auch einige sehr interessante Themen. Unter diesen ist vielleicht gerade die Beobachtung am wichtigsten, die die Autorin Martino selbst macht und mit der der Leser zu einer objektiven Kritik der Geschichte und der darin erwähnten Charaktere und Ereignisse ermutigt wird: Wer hat entschieden, wer als wahr Protagonisten in den Geschichtsbüchern erscheinen sollte und welche Ereignisse größere Relevanz als andere hatten?

Der Roman hebt hervor, dass die ‘kleineren‚ Geschichten genauso wichtig sind wie diejenigen, die uns üblicherweise in Büchern überliefert werden. Für die einzelnen Gemeinschaften ist es in der Tat von grundlegender Bedeutung, die lokale Geschichte zu kennen und sich mit ihr auseinanderzusetzen, denn sie ist ihnen am nächsten, wurde von ihren Vorfahren – egal ob Patrizier oder Plebejer – geschaffen und genau dort liegen ihre Wurzeln, ihre Traditionen und ihre Kultur.

Ein weiterer interessanter Aspekt ist die Reise, die Martino ‘durch die Zeit‚ unternimmt, wobei er vermutlich zeitliche und räumliche Grenzen überschreitet und damit auch die der Materie in ihrer Körperlichkeit überschreitet.

Seine Reise durch die Zeit hat einen doppelten Nutzen: Einerseits ermöglicht sie ihm, Augenzeuge und in manchen Fällen sogar Protagonist oder Co-Protagonist von Ereignissen zu sein, die – wie die Geschichte später zeigen wird – nicht über die Zukunft entscheiden werden nur von einzelnen Menschen, sondern von ganzen Gemeinschaften, und andererseits ermöglicht es ihm, aus einer zukünftigen Welt kommend, seinen Gesprächspartnern vorherzusagen, was passieren wird und in manchen Fällen, wie er ein Problem lösen und sogar Feind im Kampf besiegen kann.

Obwohl Martino demütig seine begrenzten Geschichtskenntnisse eingesteht, wird er es sogar schaffen, indem er Informationen aus der Lektüre einiger Bücher zu diesem Thema verwendet, darunter Romane, die als Hausaufgaben für die Feiertage aufgegeben wurden, sowie Informationsmaterial, das von der Pro Loco verteilt wird schlug dem Marquis Bertoldo, dem Haus der Hohenburg, dem Herrn von Monteforte, den Weg vor, wie man den Kampf gegen den Feind mit den “Pferden von Friesland„ gewinnen kann. Letztere, wird er Bertoldo und seinen Männern erklären, sind ein Verteidigungshindernis, das bereits von den alten Römern genutzt wurde und das Publius Vegetius Renatus in seiner Abhandlung über die Kriegskunst Epitoma rei militaris, also die Kunst des Krieges, zwischen dem späten 4. und frühen 5. Jahrhundert n. Chr. ausführlich erläutert hat.

Obwohl Martinos Zeitreise oft eher wie ein Albtraum erscheint, aus dem es keinen Ausweg zu geben scheint, als wie ein schönes Abenteuer, mangelt es dennoch nicht an angenehmen Momenten und positiven Erlebnissen.

Unter den bemerkenswerten Persönlichkeiten trifft er auf Cielo D'Alcamo, “einen Dichter ... den Friedrich II. geschätzt, gelobt und unterstützt hatte, bis sich sein Ruhm als Literat im ganzen Königreich verbreitet hatte …„ (Davide, 2023, S . 150) und dessen Auftritt im Schloss Martino an Konzerte von Rockstars erinnert und ihn zu dem Schluss bringt, dass sich im Laufe der Jahrhunderte schließlich nichts geändert hat: Die Musik übt auch heute noch wie damals eine große Macht auf das Publikum aus.

Er ist auch Zeuge, wie die Ehrengäste mit Festlichkeiten empfangen werden, bei denen die königlichen Dekorationen von der ebenso luxuriösen Kleidung der Männer und Frauen begleitet werden, die zu diesem Anlass getragen werden, und das alles begleitet von reichhaltigen und schmackhaften Banketten, bei denen es an nichts zu fehlen scheint. Gänge mit Tieren aller Art, von Vögeln bis zu “mit Gewürzen und Honig überzogenen Braten...„, Saucen, Brot und Wein in Hülle und Fülle, Fisch, Obst, Pilze, Käse und Desserts aller Art (S. 154, 155) Sie folgen einander am Tisch mit den Frauen, die hart dafür sorgen, dass alle Gerichte zur richtigen Zeit und auf die perfekte Art und Weise serviert werden und dass alle Anwesenden das liebevoll und sorgfältig zubereitete Essen wertschätzen und genießen.

Der Normanne und die Geheimnisse des Schlosses ist daher ein Roman, der in einem fließenden Stil wie dem des Autors geschrieben ist, der Erwachsene und Kinder faszinieren wird und bei denen, die ihn noch nicht haben, das Interesse am Lesen und darüber hinaus weckt Alles in der Geschichte. Es wird jeden von uns auch daran erinnern, dass “die Waffen, mit denen wir ums Leben kämpfen, nicht nur die aus Stahl, sondern auch die des Wissens sind„ (S. 88) und dass, um die Worte zu verwenden, die Martino an Leandro richtet, einen Freund, der er auf seiner Zeitreise traf, “Bücher … [sind] ein sehr wirksames Transportmittel zwischen den Jahrhunderten.„ (S. 140)

 

Roberto Roganti between Stories and Modenese Dialect Poetry - Interview with Maria Teresa De Donato

 Roberto Roganti between Stories and Modenese Dialect Poetry

 

Interview by Maria Teresa De Donato

 

 

Dear fellow Readers,

 

Today I am happy to host my dear friend and fellow Author and Blogger Roberto Roganti again.

 

We had a first interview with Roberto about his passion for classical music, which led to the creation of The Classic Month column on this Blog and Virtual Cultural Salon. Those who wish to do so can read it at the following link: https://holistic-coaching-dedonato.blogspot.com/2023/08/roberto-roganti-and-classic-month.html

 

Roberto, ad hoc from Modena, began his writing activity in 2007, dealing with restaurant reviews for a site dedicated to cooking; during the work, he embraced poetry, first in the language and then in the vernacular; finally, he switched to yellow, which he now cultivates with ardor.

 

Today we will talk about his production of stories and dialect poetry.

 

Enjoy the reading!

 

 

 

MTDD: Hello Roberto, and welcome again for our second interview.

 

RR: Hi Maria Teresa, you know I almost missed it… it's a period where I have a lot to do and to write, and I'm getting lost in words.

 

 

MTDD: From your biography, we note a notable production of stories and poems, also in dialect, as well as awards and recognitions in this area.

In this regard, we also want to remind the public that you are the founder of I Poetineranti. This group is dedicated to reading their texts in public, in the language and the vernacular, that organizes music-poetic shows in the vernacular, and that you were one of the artistic directors of the Modenese Dialect Song Festival for three years.

 

RR: Well, let's say that's the past. The present is writing detective stories and collaborating with an emerging publishing house. In short, I'm an editor, and I create covers. That's something I like and allows me, all in all, to pass the time. I confess that Roberto, President of I Poetineranti, is no longer here, even if my former partners continue to call me President, a bit like Kessie, the Milan player who, however, betrayed the shirt. I haven't betrayed poetry, I don't have any more arguments to write about, and I still have so much stuff to publish; I think I can live on my income for a few decades if the good Lord lets me live beyond the century. I confess that the microphone in hand, the gaze on the audience there in front, the whispers and the giggles and the applause when I read my texts in Modena dialect… I miss them a bit. Unfortunately, my city's lack of hunger for culture has disaffected me in creating and proposing. I'm looking for solutions to develop cultural spaces or presentations, but the public isn't there... in hiding. I had reached the apotheosis with two friends; we had carried on the Festival of Songs and Modenese Dialectal Poetry tradition, with significant participation, especially from a singing point of view. In the last edition, Nevruz, the son of Pierangelo Bertoli, Marco Baroni sang, and even Paolo Mengoli came with the Bolognese dialect... We were already launched for the 2020 festival; we had found a free theater, which was not bad; we had important sponsors and good contacts: Andrea Mingardi and Davide Van De Sfroos and others from Reggio and Romagna; we had even thought of two evenings, instead... Covid took the scene, and amen. You know the rest too.

 

MTDD: When and how were these passions of yours born?

 

RR: I started writing restaurant reviews… and then, inside me, I heard a little voice that inspired me with different words, other than food for the stomach, but food for the soul. Slowly I wrote something, then something else, and again and again… everything I saw inspired me; I wandered through the parks with the dog and observed nature as I had never done before, pouring out words at full blast… Not being able to take notes, I dictated everything on my cell phone, then at home, I elaborated and edited. The dialect has arrived for due evolution. My grandfather was an expert in Dialèt Mudnés… All the most famous poets of the time passed through our house as well as playwrights. They came to see him to have their writing corrected because of the accents, which is a big commitment.

I won't name names because maybe you don't know them. Still, I can mention one, a certain Guido Cavani, who, in addition to poetry, wrote stories and wrote a beautiful book, Zebio Cotàl, which had a preface by the great Pier Paolo Pasolini. Well, I was saying, my grandfather had already left for quite a while when a letter arrived at our house, they invited him to a reasonably significant dialect competition. I had recently tried my hand at dialect; I was studying it as an autodidact. I read the rules, and I tried; I only had five days to write three poems, and I did, and I participated. It was a colossal debacle, but it was a stepping stone. I didn't do poorly compared to the famous dialects who were in the race, but I considered that test as a challenge, a challenge between me and myself... to see where I could get. And I've come a long way. Third places, special mentions, some of my lovely poems are still read at village festivals… I wrote a book, Al mê SLANG ed Módna, but only to fix it in black and white; I had already won the challenge. Then as time went by, I acted around a bit in provincial theaters, always organizing nice things... then 2020 arrived, and we all got stuck.

 

 

MTDD: Can you tell us about the literary awards and recognitions you have received so far?

 

RR: As I mentioned before, many placings and recognitions in poetry, but I never finished first, except in the very distant 1987, when I won a competition for the ASL of Modena with a theme on the difference between contracted and private healthcare… That year, I was taking a course to become a physiotherapist, and having a doctor's father, I knew the two realities well, so for me, it was child's play to write a suitable script. Well, let's face it... I had studied Medicine and Surgery, so I mastered Italian well, and writing became relatively easy.

 

 

MTDD: In your poem Attimi... (R. Roganti, 2009, RISTAMPA 2020) you write:

 

 

"... eviscerating like magic

from the bottom of my soul

all those words

which I never am

managed to put

together ..."

 

Compliments! They are lovely and equally significant verses.

 

How important is poetry for communication purposes? Why, in your opinion, can it be more accessible for some people to express their feelings and thoughts through verses rather than verbally?

 

RR: Look, I'm an atypical poet: very few poems about love, which I consider a private thing, but a lot about the world around us. With my profession, I had to observe my patients and understand their way of moving and what problems they might have… and I applied the same method in daily life. I watched, observed, meditated, and stared in my mind… then away, home, pen in hand, and the words were impressed on the paper… simple, isn't it?

 

 

MTDD: Among your poetry collections, we have Illusionist (2009, REPRESS 2020), Family (2010), and Groggologia (2010, poems and stories).

 

How were they born, and what did you want to communicate to readers with your literary productions?

 

RR: First, there was Attimi… another challenge, curious indeed. It was my father's birthday in October 2009, and we were celebrating his first 80 years... I had agreed with my brothers that we would make a cumulative gift. At the end of the dinner, the gift arrived, but I didn't appear, they had excluded me, and I don't know why... so I took it easy and promised him a unique gift. I had already written some texts; I assembled them into about thirty poems, all accompanied by my photographs. Thus was born my first book of poetry. After that, it was an almost crazy descent: Illusionist, Family, and then Groggology. I then called this my Opera Omnia; I was almost sure that after that, I would stop there because it contained five other anthologies that I hadn't published, along with six short stories I had written in the meantime... I wrote the first one one night, in which I could not sleep. The window was open, and some clouds surrounded the moon… I called it The Moon in the Well. An unfortunate plot about the accidental death of two children a few days after the end of a war. There was another, Mors tua, vita mea, which I later transformed into a yellow.

 

 

MTDD: In 2013, you published a poetic collection entitled Poetic Notes of a Fornicator of Souls, a rather intriguing title.

 

Can you elaborate on the concept?

 

RR: Beautiful, beautiful cover, framing my grandfather in his closet, playing solitaire, the only light being a table lamp with an incandescent bulb that gave an aura of mystery. In the background, a calendar on which the year could be read, the year of the photo obviously: 1982. Each poem referred to a person I had known, who was alive or dead, public figures, or people who had accidents… in short, I had inserted myself into the souls of those who, for one thing, or another, had attracted my psychic curiosity. Moreover, it was precisely in that period that I began to develop my poetry by almost completely eliminating punctuation; I left only the three points instead of the comma of more or less long spaces to make it clear which pause to keep between one word and another, the 'newline was understood only because the word on the following line was capitalized.

 

 

The Dead of the Twin Towers

(September 11, 2001)

 

Today again

I have well printed

in my eyes

in my mind

in my heart

the blurry figures

with uncertain outlines

from unnatural positions

of those who threw themselves into the void

from those windows

towards certain death

to escape certain death...

 

 

 

MTDD: Also, in the same year, your collection of short stories, Ra…corti in scatola, was released.

 

What are its main themes and aspects?

 

RR: I assembled all the stories I had written up to that moment, adding at the bottom those already published in Groggologia. I still hadn't clear ideas about what to do because I was slowly moving away from poetry. Meanwhile, I put them there. I was finding that it was fun to write short stories, but I realized that they were almost all crime/thriller stories… maybe that was a sign. Later, I abandoned this path to devote myself to yellow literature. I want to discuss it here, but I know a third interview will be dedicated to the topic, so follow Maria Teresa De Donato, and you will find me.

 

 

MTDD: In 2016, you published an autobiographical work, with a second edition released in 2021, entitled From the high chair to high school in 100 Steps.

Can you share with our readers the reasons, what you consider the five most significant steps taken in your life, and which you have indicated in your literary work?

 

RR: The precise definition of this work is the one given to it by a crime writer friend, much, much better than me, Luigi Guicciardi. This collection contains 100 short stories about my life from the day of my birth to the day of my thirteenth birthday. The definition that your friend gave you was Postcards from real life. Fit like a glove. The characteristic of these postcards is that the topics covered, usually very short, are narrated not in the present as a memory, but in the present of the time, with the jargon and modus of the child at that precise moment. I remembered and recalled the feelings and thoughts that crossed my mind in various moments of my existence. It wasn't easy, but it wasn't difficult either—concentration and trust in one's memory. By the way, I have to tell you this… Although I was born in the center of Modena, I went to live with my parents in a country town because my father won the conduct there for my first six years of life. Since my father worked under the table to get a transfer to the city, he knew very well that it was useless for me to start elementary school in that country because I risked beginning the year in one place and finishing it in another. So they made me study as a private student; in fact, when we returned to the city, I enrolled directly in the second elementary school at the age of 6; I was a year ahead ... I also completed my high school diploma when I had not yet turned 18 ... Damn, I digress ... The teacher from where I went, I swear that the name Ghisellini echoed in my head… the teacher Ghisellini… and so I published with this name. When my mother read it, she telephoned me to announce that the teacher was called Ghiselli… in any case, for me, she remains the teacher Ghisellini!

 

 

MTDD: In 2019, you published Al mê SLANG ed Módna, poems in the vernacular.

 

How important is it to publish in your own dialect and keep the language, local culture, and traditions alive, and why?

 

RR: I mentioned it before, but I can add that dialect is not a written language but a spoken one. Unfortunately, talking about it, over time, we lose our memory; better than fixing black and white and giving a sense of eternity to the language of our ancestors, even if each of us stuffs it with improper terms precisely because the originals have been lost. I have defined my dialect as SLANG because it is miscellaneous... the Modena one that I studied with old texts, the one from the lowland that my father knows who corrected me, and the one from the mountains my wife speaks, and contributed to the corrections. If you go around the city by now, the dialect could be better spoken by many, not only from Modena but also foreigners... and they put their own into it. The beauty is that despite everything, it is the international language of every city; each one has its own, and everyone can understand anyone who speaks it.

 

 

MTDD: Would you like to share some verses with our readers?

 

RR: I'd like to give you an example; there's also the translation. Unfortunately, most genuine dialectal poems, which are excellent, cute, and make you smile, are long. I have chosen a sad one, which makes you think as an antithesis to the fun of the dialect.

 

La nèbia

 

Quand la nèbia

l’è propria un nèbioun

 

La per un mur

La vin sô d’la tera

La va’fnir dapertot

Pian pian la quacia

gnianc fossa ‘na pela

tot al besti, al cà, al pianti

e ... nueter

 

Un mantèl d’uvàta

cal quacia tot,

al smorza i armour

e al mand adveinta

culour ed fumaneina,

tot bagnè,

ca-n-gh spôl gnianc vaddâr

 

E ci passa sul viso

come una fredda carezza

... giazeda cuma la mòrt

 

 

 

The fog

When the fog

is impenetrable

 

It looks like a wall

Leaven from the ground

It creeps everywhere

It slowly covers

like a film

all the animals, the houses, the plants

and … the rest of us

 

A muffled coat

that covers everything,

muffles noise

and the world becomes

grey,

humid,

almost invisible

 

And it goes on our face

like a cold caress

… cold as death

 

 

MTDD: Is there a recurring theme in this dialect work of yours, or what are its salient aspects anyway?

 

RR: No recurring theme, freewheeling poems. Jovial, sad, thoughtful, nice... True dialect poetry is usually born in dialect; if you want to fill a book, you must translate texts into Italian. The problem in translating from language to vernacular is that many familiar terms exist outside the dialect. Therefore, they must be tricked, and sentences are slipped in instead of words.

 

 

MTDD: In 2020, you landed on the collection of poems Capsicum, the lyrics of suffering.

 

Would you like to present it to us and, without revealing too much, explain its contents in general terms?

 

 

RR: I just reprinted this collection of "heavy" poems, by the way. They are particular; I have defined them as 3M: Illness, Evil, and Death. Illness and Death are poems that deal with everyday subjects of suffering: autism, madness, death of a relative, Parkinson's, funerals… I don't think there are any cheerful ones. On the other hand, Evil is the heaviest section. It is not recommended for children under 20, those over 60, and very sensitive people. The characteristic of this section is that I have immersed myself in the various characters, trying to describe their moves, thoughts, and actions. Every time I played the bad guy, I felt like a chameleon, an actor. I became a sniper, a drug addict, a rapist, a pedophile, a murderous driver, a thief, a fugitive, a serial killer, a suicide, a pimp, an alcoholic, and even a prostitute… It wasn't easy, but I got an excellent result. An example, in the poem The Dose, I speak of a drug addict who finally finds what he is looking for. At home, he digs into the only place with a small space left ... I showed it to a friend who is an ex-drug addict, who confirmed everything for me. He complimented me on the courage to describe the atrocities to which they are forced and, above all, the abundance of details.

 

 

MTDD: Before concluding... I know you have participated in GnaM Year 1, 2011, and GnaM Year 2, 2013, eno-gastro-chatter.

 

What exactly are these "eno-gastro-chatters"? Were literary works presented or specific topics discussed, and if so, which ones?

 

RR: It wasn't a show, just the story of my three years of drinking. Let me explain. In 2007 Modena, a webmaster, created Gusta Modena. It is a site where those who participate write reviews of the restaurants where they have gone to eat, trying to enter as many details as possible, put their feelings, the price paid, and finally give a vote in chef's hats. Having good IT knowledge, I quickly find myself from a user who sends reviews to a user who writes directly on the site and moderates the others. Thus a group of acquaintances is created of virtual friends who occasionally become real and meet for tasting dinners. Three years in which I interacted with my river reviews, where I also talk about the history of the local areas; I share my poems, my cooking recipes, information on particular foods, or more or less fine wines in the dedicated sections. And over three years, I reviewed more than 200 restaurants, from 2007 to 2010, the year in which I had a healthy change of mind: due to a review rejected by a new moderator, who made little ballots, let's not say which ones, I decided to drop the 'bone, and I'm gone. The following year I thought well of recovering my contributions; I noticed an air of crisis in the organization, also due to that factor that pushed me to abandon; other subscribers who thought like me followed me. It began a slow decline, and to this day, it has stalled, but those times have never returned. Gusta Modena's hardcore had been snubbed and forced to leave, but the ball had deflated by leaving.

So I recovered everything I wrote, cataloged the system, and divided it into three episodes, making them look like three moments of a love story:

 

Volume One, When and how love manifested itself, August 2007 - August 2008, First year: the courtship, The dawn, and the break-in

 

Volume Two, When and how love was consolidated, August 2008 - August 2009, Second year: coexistence, Confirmations, and promotion

 

Volume Three, When and How Love Sagged, August 2009 - August 2010, Year Three: The Breakup, Betrayals, and Separation

 

 

MTDD: Roberto, how can those who wish to follow you, contact you, or buy your publications do so?

 

RR: To follow me, they can find me on Facebook here:

https://www.facebook.com/roberto.roganti.52/

or on my blog: https://poetineranti.blogspot.com

 

Regarding my publications, as for those we have talked about, almost all are out of print or out of stock.

They can still be purchased directly from me: Al mê SLANG ed Módna and Capsicum; you can also order this online here:

https://seguiletueparole.it/prodotto/roberto-roganti-capsicum/

 

However, I expect the reprint of Groggologia, minus the stories (in the following interview, I'll tell you why) and Poetic notes of a fornicator of souls.

 

 

MTDD: Thank you, Roberto, for having participated in this interview and for having presented part of your literary production, namely the one linked to the poems and stories you have written up to now.

I look forward to our third interview to present your production of mysteries to the public.

 

RR: This, too, is slowly evolving. I'll leave you with a gem... during the covid period, as you know, there was little to do, so I wrote..., and I wrote six long and 15 short mysteries to be developed... so we'll have some to talk about, and you'll have to be able to read if you love the genre... Fast, non-demanding, easy-to-handle thrillers with characters that really exist.